Short Film Marketing Guide

Finding festivals & fans,
Creating buzz & benefits

A guide to marketing short films
screenaustralia.gov.au
Making a quality short film can be an effective way of establishing a

career in feature films, but take a wrong step in the marketing phase
and the potential could be lost. This guide describes various options for
exploiting short films and emphasises that the most effective strategy
flows from an honest appraisal of the quality and nature of the film
itself and a firm focus on the filmmakers objectives. It provides
practical information and outlines how to negotiate the festival, sales
and self-distribution landscape. It is applicable whether the short
film is live action, animation, documentary or something else entirely.
There is considerable value in reading this guide before cameras roll.
Written by Sandy George for Screen Australia

Published by Screen Australia, February 2014
Cover: The Gallant Captain
ISBN 978-1-920998-27-1
Chapter 1
Focus on purpose and possibilities

The short film is finally finished. What
to do with it now? Pause, step back
and think because there is no one-sizefits-all approach to marketing short
films. Firstly decide what you want to
achieve and then honestly assess the
quality and nature of the film itself.
Base all actions on this information.
Chapter 4
Festivals: Be very strategic

Festivals play a key role in creating buzz.
Theyre a place for finding audiences
and future partners, signing deals and
perhaps even winning accolades. Thats
the good news. The sobering news is that
there are thousands to choose from and
competition is high to get into the best.
Chapter 5
Chapter 2
Research, research, research

With outcomes in mind, get stuck into the
research. Develop an understanding of
the festival, self-distribution and sales
landscape. Make notes as you go and be
open to all ideas whether wise or wacky.
Chapter 3
Plot and prepare
Lock down a marketing strategy and
an affordable budget simultaneously.
Execution should begin once clearances
are checked, marketing materials are
finalised and other preparations made.
16
Once the ball starts rolling

Congratulations! The film has been
accepted into a major competition and is
being noticed by buyers. Keep a level head.
Chapter 6
11
22
25
Choose a sales agent with care

There are always exceptions to prove the
rule but it would not be out of line to say
two words dream on! to filmmakers
who think they will become rich from the
earnings from one short film. Just saying.
Chapter 7
Do it yourself online
The internet offers a whole new
world of distribution opportunities
and options for directly linking films
and customers. However, just making
the content available is not the same
as creating the desire to watch it.
32
Focus on purpose
and possibilities
The short film is finally finished. What to do with it now? Pause,
step back and think because there is no one-size-fits-all approach
to marketing short films. Firstly decide what you want to achieve
and then honestly assess the quality and nature of the film itself.
Base all actions on this information.
Stories abound of compelling short films

becoming overnight sensations online or
winning major prizes and catapulting those
who made them directly into the heart of
Hollywood. But short films that are just as
impressive miss out on getting the attention
they deserve and disappear without trace.
Success is unpredictable because
thousands of short films are made
worldwide each year and there is
very little commercial impetus driving
them. The experience can be beautiful
for some filmmakers and brutal for
others because there are so many
uncontrollable factors: serendipity, for
example, and the level and nature of
the competition at a particular time.
Think clearly, act strategically
to maximize the potential.
Chapter 1. Focus on purpose and possibilities
There is no point beating around the

bush: the film itself is one of the biggest
determinants of success and it may be
better to move on to the next film project
rather than spending time and money
marketing a film that didnt work out as
well as hoped. (And it is definitely better
to move on immediately if the film is
deeply flawed because spruiking it could
be more damaging than beneficial.)
Consider and honour the original intent
behind the work. A politically motivated
short could be very popular within a
relevant specialist festival but not measure
up to the high level of competition at a
major festival. A film made to test an
idea, prove the worth of the production
team or showcase the strength and
suitability of an actor for a planned
feature may have perfectly fulfilled
that purpose but that doesnt mean it
is capable of winning major prizes.
4
Finding festivals & fans, creating buzz & benefits: A guide to marketing short films
Honestly assess the quality and

nature of the finished film.
Focusing on what you want to achieve long term is
also critical when determining a marketing strategy.
Frankly, a filmmaker with an outstanding short and
the penultimate goal of financing a dramatic feature
(ie not a genre picture) should treat the Sundance,
Berlin, Cannes and Venice film festivals as priorities.
The competition is cut throat but winning a major
short film prize at any of these four festivals can
have a powerful effect on a filmmakers career
on many levels and on the likelihood of securing
commercial deals for the film. Targeting the most
prestigious festivals first is the traditional marketing
pathway and it still has a lot of potential benefits.
Keep the expectations and ambitions
of the filmmaking team in mind.
Filmmakers interested in making genre films may
be better off submitting to the Sitges Film Festival,
SXSW or Fantastic Fest than to the most prestigious
festivals. Filmmakers who know they will only make
shorts as a hobby might just want their shorts seen
by as many people as possible or on a big screen.
If a filmmaker is determined to crowd fund a
well developed low-budget feature, perhaps
time and energy is better spent doing that
rather than marketing a short. Shorts can very
effectively help find niche audiences by utilising
the power of the internet and social media.
SNIPPET
The stuff dreams

are made of
Panic Attack!, a science-fiction
film that runs less than five
minutes, led to director Fede
Alvarez from Uruguay signing
a lucrative Hollywood feature
deal. Hed not previously made a
feature and has since made Evil
Dead. Although Panic Attack!
didnt win any of the major prizes
after it premiered at the Buenos
Aires Rojo Sangre film festival,
it was honoured by the festival
for its post-production. A few
days later it was available for
the world to see on YouTube. I
uploaded it on a Thursday and on
Monday my inbox was totally full
of emails from Hollywood studios,
Alvarez told the BBC. Musician
Kanye Wests blog included a link
to the film, one of the reasons it
got the level of attention it did.
Read more here mashable.
com/2009/12/19/youtubemovie-robots/
If a filmmaker wants to direct television or get

employment as a commissioner, perhaps it is a better
option to use the short as part of a well thoughtthrough plan to approach individual executives at
production companies or government agencies.
Those who believe that online distribution will

eventually change the nature of everything,
including film marketing and financing, may
want to use their film to start building a selfdistribution portal or a database of fans.
Whatever the aim is, act accordingly,
because the fate of a film and the
filmmakers behind it are entwined.
These points can help the team consider what they
want to achieve from their marketing efforts.
T
he most influential distributors, sales
agents, financiers, talent spotters and other
film industry players can be found at the
most prestigious festivals, and winning a
major short film award even just being in
competition increases the opportunities
for a filmmaker to get attention.
C
reating an online buzz around a tasty morsel
of film is a way of building up a fan base that
can be transformed into a permanent resource
for film distribution or raising financing.
I
t has never been easier to access special
interest audiences around the world.
SNIPPET
Be afraid,
be very afraid
The 2013 Sundance Film
Festival received 8,102 short film
submissions and programmed 65.
Source: indiewire.com
The 2013 Cannes Film Festival
received 3,200 submissions and
chose nine for official competition.
Source: shericandler.com
The 2012 Clermont-Ferrand
International Short Film Festival
received 7,125 applications and
chose 77 international, 59 French
and 35 experimental films for
its competition programs.
Source: screenhub.com.au
S
hort films are saleable but it is highly unlikely
that an individual film will make anyone rich.
C
ritical and commercial acclaim
rewards not just the key cast and the
filmmaking triumvirate of writer/director/
producer but all collaborators, backers
and helpers for their hard work.
T
he marketing and networking skills
developed by shopping around a short
film are well worth learning.
Filmmakers, especially those at the beginning of

their careers, have to plot a path that balances
working on their own projects, earning money and
developing skills, a good reputation and contacts.
Any marketing plan needs to be seen in this light.
Snippet
Oh yes, shorts
are important too
Across the world film schools
attempt to de-emphasise the
importance of short films,
awarding in the thousand, film
degrees, bachelor degrees,
masters, even doctorates in place
of the only thing anyone in the
industry is interested to see: a
knock out short. You learn how to
be a filmmaker by making films.
Jane Campion, filmmaker and
president of the short film jury at
the 2013 Cannes Film Festival.
Research, research,
research
With outcomes in mind, get stuck into the research. Develop an
understanding of the festival, self-distribution and sales landscape.
Make notes as you go and be open to all ideas whether wise or wacky.
Successfully marketing a short needs the

same planning, precision and creativity
that producing the film required.
The intention behind this guide is
to help filmmakers plot their own
strategy and act on it. Read through
the guide and use the links to seek
out information and prompt ideas.
It will take two or three days hunched over
a computer to get a feel for the possibilities.
Examine the festival landscape, get to know
the key commercial short film players
and assess the self-distribution options.
Expect every action to have consequences.
Keep notes as the research progresses

so that information doesnt get
lost. Here are some suggestions
on how to order the notes:
Estimates of key expenses for
inclusion in a budget. These will
probably include but not be limited
to the design and printing of flyers
and DVD covers, duplication and
dubbing, freight and postage, entry
fees and, in the event of getting into
an international competition, travel.
K
ey dates for priority festivals
including submission deadlines, the
timing of announcements regarding
finalists and the actual festival dates.
The required formats for preview and
screening copies for priority festivals.
Links to festivals, companies and
information that are not in this
document and may be required later.
Chapter 2. Research, research, research
Finding festivals & fans creating buzz & benefits: A guide to marketing short films
M
arketing ideas as they arise, including
the wacky ones because they might be
just whats needed to make a film catch
the eye of someone influential.
F
acts or figures that could be used to give
the film or the filmmakers an advantage.
Perhaps a key sales agent already handles a
short that shares the same cinematographer
or writer, or a festival programmer has the
same surname as the director. Perhaps the
producers father was born in a city with
a vibrant short film festival. Use any trick
necessary to stand out from the crowd.
Dont hesitate to contact filmmaking colleagues
who have been to festivals that look enticing,
sold their work to sales agents that seem to suit
or implemented a self-distribution strategy.
Continually assess your films capacity to achieve
critical and commercial success by watching awardwinning films and examining short film catalogues.
Bear costs in mind from the outset so that
a marketing strategy and a budget for the
implementation of that strategy can be
locked down simultaneously. Choices will
have to be made about the method of finding
advocates unless there is unlimited money.
snapshot
Shorts + festivals =
a powerful combo
Shorts and festivals are important
for career development on many
levels. Consider the festival
trajectory of these three directors:
Justin Kurzel: Blue
Tongue, Cannes, 2005;
Snowtown, Cannes, 2011
Warwick Thornton: Green
Bush, Sundance, 2005;
Samson & Delilah, Adelaide
and Cannes, 2009
D
avid Michd: Crossbow,
Sundance, 2008; Netherland
Dwarf, Berlin, 2009; Animal
Kingdom, Sundance, 2010.
It is thrilling to see a film on a big screen but outside

of the festival context it is unusual for short films
to get a theatrical outing. If it can be arranged with
some clever footwork, however, the novelty value
could make it worth its weight in marketing gold.
Keep alert to upcoming features that might

be a perfect match. It is a long shot but
showing a short before a feature might work,
providing the short is modest in length.
If you or the film have a particular connection
to a suburb or a region, it might be possible
to have a community-based screening in
conjunction with a local independently owned
cinema. Or perhaps a local library, art gallery,
museum or educational institution with an
auditorium might be persuaded to get involved.
Surviving as a filmmaker depends on
maintaining solid relationships. Dont forget
to keep the cast and crew informed of whats
going on with the film they worked on.
suggestion
Think
imaginatively
If a key creative or cast member
was born abroad, it may be of
benefit to target festivals in their
birth country. These festivals
all present short film awards:
Animafest Zagreb World
Festival of Animated
Film (Croatia) www.
animafest.hr/en/
M
essage to Man (St
Petersburg, Russia)
message2man.com/eng/
S
ao Paulo International
Short Film Festival
(Brazil) www.kinoforum.
org.br/curtas/2013/en/
S
arajevo Film Festival
(Bosnia-Herzegovina)
www.sff.ba/en
S
hanghai International Film
Festival (China) www.siff.com/
InformationEn/Index.aspx
10
Plot and prepare

Lock down a marketing strategy and an affordable budget
simultaneously. Execution should begin once clearances are checked,
marketing materials are finalised and other preparations made.
Use this document and your research,

common sense and creativity to
simultaneously write a marketing
strategy and a budget. Stamina will be
required to implement a comprehensive
campaign and even the most modest
plan will require time and money.
Make an agreement between the principal
filmmaking parties before any action
is taken. It should stipulate how costs
will be met and who will implement the
strategy, travel to festivals and keep any
revenues or cash prizes in the unlikely
event that these monies exceed costs.
Once the plan and the budget are finalised
there are just two matters to attend to
before the implementation phase begins.
Chapter 3. Plot and prepare
Do not breach copyright as the

consequences can be serious.
It is very important that all rights and
clearances are in order before entering
films in festivals or submitting them
to potential buyers. Anything in a film
that is not created by the filmmakers
must be cleared. This includes books
and printed matter, signage or brand
names, a piece of music or a sculpture.
Dont leave anything to chance and
expect to have to sign warranties.
The ideal is that every clearance applies
to every platform, everywhere in the
world, forever. Otherwise it might be
necessary to return to rights holders
again and again to extend the permissions
and that will be very tiresome.
11
Make the press kit compact,

clear and tantalising.
There are many press kit templates to

follow but here are the minimum inclusions:
Complete all components of the press

kit and other supporting materials and
file them in a well ordered way. All
submissions and enquiries will require
at least some of this information to be
attached. Plus opportunities will arise
quickly and are best acted on immediately.
A
one-page summary that includes
title, one-line synopsis (which
should hint at genre and not contain
spoilers), lead cast, writer/director/
producer, length, production company,
nationality, format and screening
ratio, copyright owners and date,
website address and contact details.
All the marketing materials must look

and read professionally, reflect the
film accurately and have a consistent
message. No one has the time or desire
to wade through reams of information:
leave readers wanting more.
Confirm which marketing hooks will be
emphasised. (It is a concern if no thought
has been put into marketing before
now.) Perhaps the content is unique or
controversial. If there are no big names
in the cast perhaps it is arguable that one
of the leads will be the next big thing.
Programmers and buyers wont
watch a short unless the supporting
materials are enticing.
O
ne-line, one-paragraph and half-page
(maximum 200 words) synopses.
A
directors statement
(maximum 200 words).
M
aking-of information (maximum
500 words and including interesting
anecdotes and notes on the origin of
the project and how it was financed).
B
rief biographies of key cast
and crew (maximum 200 words
each but preferably less).
A
t least three high-resolution, highquality colour stills from the film.
A
high-resolution high-quality
photograph of the director.
Keep additional information in a place
where it is easily accessible. If a short
film is suitable for a festival that focuses
only on human rights, for example, you
may need to provide more background
highlighting its relevance to this subject.
12
Providing fabulous stills is critical.

Photographs will influence what audiences
choose to see at festivals or online. A very
compelling photograph can deliver a film enormous
attention because it will be reproduced often and
prominently in the media, in festival programs
and on websites. Caption all photographs
carefully and in an enticing fashion.
Be creative but stay true to the film. Be edgy or
provocative only if it suits. Building interest is
the aim but the film has to deliver on the nature
of the expectation. Consider whether a piece of
content has the potential to go viral if treated
in a certain way. If the lead characters drink
a lot of beer, produce some stubby holders.
Assess the need for an EPK, a trailer or a website.
An EPK (electronic press kit) and trailer will help
maximise the potential of a film but these items
come at a cost that might not be warranted
particularly in the case of an EPK if no interviews
were recorded with cast and crew during production.
Having an online presence will enhance any
campaign and has the advantage of being
permanent and easily accessible. It can allow
interested parties to download press materials,
see the film with a password-protected link
and be impressed by the latest positive reviews
and accolades if someone is updating the site.
Consider whether to create a stand-alone website,
a Facebook page or something included under
the production companys or filmmakers URL.
snapshot
Imagine winning an
Oscar or BAFTA
A filmmaker with his or her heart
set on winning an Academy
Award with a short film needs to
carefully study the rules available
on the Academy website.
These rules indicate, for example,
that films are only eligible if they
have a commercial screening
in Los Angeles or if they win
a qualifying award at one of
a number of competitive film
festivals listed on the site.
Heres the equivalent list of
qualifying festivals for the
British Academy of Film and
Television Arts (BAFTA) Awards.
The Flickerfest International
Short Film Festival, the
Melbourne International Film
Festival and the Sydney Film
Festival are the three Australian
festivals included in both lists.
13
Get supporting materials ready in advance.

To service a sale it may be necessary to supply
along with the press kit inclusions and a
master some or all of the following:
a transcript of the dialogue in English
suggestion
music and effects on separate tracks

music cue sheets
c hain of title documents establishing
your right to make the film
location permissions
k ey artwork for marketing materials
such as flyers, posters and postcards
cast and crew list
trailer
EPK.
Getting all these materials ready will save
time and money because it will be possible
to meet immediately and without fuss
all technical and other requirements of
a festival, buyer or online partner.
The preview format and the projection format are
usually different. In some cases there will be a need
for subtitles. PAL and NTSC copies may be required.
Check out
Screen Australias
website
Dont underestimate how
much invaluable information
is on the Screen Australia
website. For example:
Do things by the book when it
comes to clearances: Theres
a Clearances list template in
the Filmmaking section, which
shows the range of visual and
aural items that might be in a
film and need to be cleared.
Learn about publicists,
photographers and costs: A
series of online guides in the
Marketing section written with
features in mind but applicable
to short films too are about
working with unit publicists and
photographers and producing
electronic press kits. Theres
also a rather sobering list
of likely marketing costs.
14
Finalise the film in a number of files and

formats at the time of mastering.
Mastering trends change. Seek advice
if unsure. Here are some examples of
common formats (as of early 2014):
Apple ProRes
DigiBeta
Blu-Ray
DVD
HDCAM/HDCAM SR.
Check all copies carefully before sending
them anywhere. The film will be one of a big
pile of films, and selectors and programmers
may be quick to disregard it if there are
any technical problems whatsoever.
If you intend to upload a film to one online
platform and send it and the supporting materials
on to many festivals using that platform, look
at all the requirements well in advance.
Snippet
Understand what
the Short Film
Corner is
Note that participating in the
Short Film Corner at the Cannes
Film Festival has nothing to do
with being in official selection.
It is a viewing platform and
market for short films. Anyone
can participate and it can be
useful but it is not considered
to be an indicator of talent.
For more info www.shericandler.
com/2013/05/08/working-thecannes-short-film-corner/
Make it clear on all materials, including copies of

the actual film, what ratio it should be screened
in, for example, 4:3 or 16:9 anamorphic. The easier
it is for the projectionist, the less likely it is that
there will be problems with the screening.
Finally, formally schedule the implementation
of the marketing strategy to get it done
quickly and efficiently. Films rapidly lose their
freshness. Keep detailed records of all actions
taken and, for taxation and other purposes,
keep receipts and other proof of expenses.
15
Festivals:
Be very strategic
Festivals play a key role in creating buzz. Theyre a place for finding
audiences and future partners, signing deals and perhaps even winning
accolades. Thats the good news. The sobering news is that there are
thousands to choose from and competition is high to get into the best.
Filmmakers intent on building a

career in feature films need to be very
strategic. If they have a short that
could measure up to the best in the
world they are advised to target the
festivals that are the most prestigious
and have a short film competition.
The top five A-list festivals that meet
these criteria and will give a film and
its filmmakers the biggest boost are:
Berlinale (Germany) www.
berlinale.de/en/HomePage.html
C
annes Film Festival (France)
www.festival-cannes.fr/en.html
S
undance Film Festival (US)
www.sundance.org/festival/
Toronto International Film Festival
(Canada) www.tiff.net/
V
enice International Film
Festival (Italy) www.
labiennale.org/en/cinema/
Chapter 4. Festivals: Be very strategic
Films only get one world premiere and

being in competition at one of these
festivals can deliver huge benefits
even without winning awards because
they are where the most talent spotting
occurs. Be wary about saying yes to
any other overseas festivals before
all opportunities to get a spot in one
of these five have been exhausted.
In years to come, having a short in one of
these competitions could also clear the
way for a follow-up feature debut to be
shown within the same festival because a
relationship has already been established.
Dont despair if this plan doesnt come
to fruition however, because second
and third tier festivals and specialist
events can also be platforms for
winning accolades and learning about
the business. They can also be less
overwhelming. Note too that any festival
can be inspiring on a creative level if it
16
has been programmed with care and intelligence

and is attended by like-minded filmmakers.
It is easy to feel bamboozled by
the number of festivals.
By systematically working through festival websites,
some decisions will make themselves: the submission
deadline might have just passed and waiting another
year might not be acceptable, for example, or the
film may not meet certain eligibility criteria.
The rules around duration vary greatly. The
Academy Awards and the Clermont-Ferrand
International Short Film Festival accept short
films up to 40 minutes in length whereas Sundance
accepts them up to 50 minutes. The Cannes
Film Festival, the most prestigious on earth, will
only accept shorts up to 15 minutes in length.
Keep an eye on the industry alerts issued
by Screen Australia to see if there are any
programmers about to visit Australia. Being part
of the Screen Australiafacilitated screenings
during these visits helps achieve cut through.
Here are some matters to bear in mind
while researching festivals:
T
arget film festivals that have competitions,
are recognised by the Academy Awards or,
especially in the case of the specialist short
film festivals, have a market attached.
suggestion
More from
Screen Australias
website
Take heed of this list: If in any
doubt about which international
film festivals Screen Australia
regards as being A-list for short
films, then look here www.
screenaustralia.gov.au/funding/
talent_escalator/acclaim.aspx.
Part of the eligibility criteria for
Screen Australias Directors
Acclaim Fund is a list of festivals.
Drama directors whose short has
been selected for one of these
festivals but who have not yet
made a feature can apply for up to
$15,000 in cash for professional
development through this fund.
Get the overview: These
festivals have screened
Australian films and hosted
Australian filmmakers www.
screenaustralia.gov.au/festivals.
E
very single festival has its own
characteristics and reputation and chooses
films and attracts guests accordingly.
A
film can only have one world premiere
and never-seen-before status can
be used as a bargaining chip.
17
N
ot being able to attend a festival to
support a film is a wasted opportunity.
Short film festivals have

advantages and disadvantages.
J
ust being shown in a festival
could have negligible benefits if
nobody has heard of the event or it
doesnt attract industry players.
According to research by Screen Australia,

having a short film selected in an
international A-list feature film festival
tends to be a better indicator of a director
going on to make a feature than if the short
was selected only for a dedicated short
film festival. Possibly this is because of the
exposure to feature film executives and
the broader feature film marketplace.
I
f pressed for time and
money consider using the key
Australian festivals as a testing
ground. Flickerfest and the
St Kilda Film Festival are the
two key short film events.
It will quickly become apparent that
submission requirements vary greatly.
Some festivals only want films of a certain
genre and are strict about the age of a film.
Some are lenient about films being shown
in their own country first, others are not.
Consider the financial implications.
Festivals know audiences love to interact
with filmmakers and some pay for
accommodation and flights for people
attached to films in competition. Others
dont. Some festivals dont charge entry
fees and some do, or do after a certain date.
Check who pays for freight, whether the
film needs to be subtitled, and if there is a
requirement to deliver in an unusual format.
Over the past six years (20082013) nine

shorts have been selected at Cannes,
with 56% of their directors going on
to gain a feature credit, and 15 shorts
(made by 12 directors) have screened at
Sundance, with 50% of directors going on
to gain a feature credit. By comparison,
34 shorts made by 37 directors have
screened at Clermont-Ferrand, with 14%
of directors going on to gain a feature
credit. Note that the term feature credit
includes feature documentaries.
That said, plenty of filmmakers have
gained substantial benefits from short film
festivals, particularly those with markets
such as Aspen and Clermont-Ferrand. Palm
Springs International Shortfest claims
on its website to be the largest short film
festival in North America and the only short
film market in that part of the world.
Some filmmakers also appreciate being
in an environment where short films are
honoured and celebrated as an art form.
18
Here is a list of some of well

known short film festivals:
Aspen Shortsfest (US) www.aspenfilm.
org/index.php/events/aspen-shortsfest
Hamburg International Short Film Festival
(Germany) festival.shortfilm.com
C
lermont-Ferrand International Short Film
Festival (France) www.clermont-filmfest.com
Palm Springs International ShortFest
(US) www.psfilmfest.org/festival
O
berhausen International Short Film
Festival (Germany) www.kurzfilmtage.de/
S
hort Shorts Film Festival (Japan)
http://www.shortshorts.org
Tampere International Short Film Festival
(Finland) www.tamperefilmfestival.fi
U
ppsala International Short Film Festival
(Sweden) www.shortfilmfestival.com
Specialist festivals may be the ideal.
Smart filmmakers match their films and their
personal aims to each festivals idiosyncrasies.
Think carefully about content, genre and even
personal characteristics too. There are many
festivals specifically for films with strong gay,
Indigenous or disabled themes for example. And if
the filmmaker identifies as one of these, that angle
too can be exploited. Calculating as it may seem, it
could begin an invaluable life-long relationship.
There are festivals just for documentaries, animated
films, films about the environment, films catering
to young audiences and films made by women.
snapshot
Clermont-Ferrand
is top of the short
film crop
Established in 1979 in the
Auvergne region of France, the
Clermont-Ferrand International
Short Film Festival is held
early each year and is generally
regarded as the most important
short film festival on the planet.
Films of 40 minutes or less are
eligible for the international
competition even if they have
screened in France or other parts
of Europe already, and there is no
fee to enter. Any film submitted,
whether selected or not, is
included in the market catalogue.
Filmmakers can choose to get
additional visibility by registering
their films in the market, which
attracts as many as 3,300
industry professionals. Once in
the video/online library, films can
be viewed for the following nine
months by talent scouts, potential
buyers, producers and so on.
Read more here www.clermontfilmfest.com/index.php?nlang=2.
19
Here is a tiny taste of themed and specialist

film festivals some well known and
some hardly known all of which have an
international short film competition:
A
nnecy International Animated Film
Festival (France) is generally regarded as the
most important festival for animated films
and it includes a market www.annecy.org
Cineglobe (Geneva, Switzerland) is focused on
short films inspired by science cineglobe.ch/
CinRail Festival (Paris, France)
is for films with thematic links to
trains www.cinerail-fest.com
Fantastic Fest (Austin, Texas) bills itself
as the largest genre film festival in the
US and specializes in horror, fantasy, scifi and action films fantasticfest.com/
I
nternational Documentary Film
Festival Amsterdam (Netherlands) is
one of the most important documentary
festivals and has a significant industry
program www.idfa.nl/industry.aspx
Taiwan International Childrens Film
Festival (Taipei) claims to be the biggest
festival in the Asian region dedicated to
all kinds of films suitable for children
under 12 years of age www.ticff.org.tw
suggestion
Festivals and lists

of festivals abound
There are countless lists of
festivals online. Start with these:
e
n.unifrance.org/catalogue/
calendrier-des-manifestationsCM-annee-prochaine.
pdf from UniFrance,
which promotes French
films worldwide
w
orldwideshortfilmfest.com/
resource-centre/getting-itseen/ from the Canadian
Film Centre, which accelerates
the development of and
promotes local creative talent
w
ww.raindance.org/
worlds-top-short-filmfestivals/ from the UKs
Raindance Film Festival
www.making-short-films.
com/festivals/ from Clifford
Thurlow, author of the
book Making Short Films.
Tricky Women (Vienna, Austria)

claims to be the only festival dedicated
exclusively to short animated films made
by women www.trickywomen.at.
20
Films and accompanying materials can be uploaded

once and then submitted to many festivals from a
range of online platforms. These services carefully
track festivals so their websites are an ideal place
to search for information and entry deadlines. Some
of these platforms will also upload DVDs mailed to
them, facilitate the distribution and sale of films,
and offer translation and subtitling services.
Here are examples of key platforms used by festivals:
Festhome festhome.com/
Reelport www.reelport.com/
Shortfilmdepot www.shortfilmdepot.com/
Withoutabox www.withoutabox.com/
The Oberhausen International Short Film Festival
established Reelport, which claims to be the biggest
platform in Europe. Shortfilmdepot has links to the
Clermont-Ferrand International Short Film Festival
and a long history of promoting short film culture.
Withoutabox claims it has been receiving and
managing submissions electronically longer than any
other platforms and services 900 festivals. IMDb.
com acquired Withoutabox in 2008, which explains
why filmmakers can be invited to create a page on
IMDb during the process of submitting a film.
Keep control of the film by being wary about
uploading a high-quality digital version to platforms
such as these. If there is no choice but to do so,
make sure there is something on screen that makes
it clear the copy is for preview purposes only.
21
Once the ball

starts rolling
Congratulations! The film has been accepted into a major
competition and is being noticed by buyers. Keep a level head.
There are few good reasons not to leap at

a competitive spot in an A-list festival; the
trick is to capitalise on the opportunity.
Investigate travel assistance through funding
agencies where eligible and see what the
festival will cover in terms of flights and other
transport, accommodation and food. Dont be
nave about the cost of attending a festival such
as Cannes as it could be as much as $10,000.
Talk in advance to others who are going from
Australia, including agency representatives.
Contact filmmakers who have had films in
competition at that festival and pick their brains.
Use the opportunity to get local media coverage.
Let the festival know well in advance who will
be attending and offer to introduce the film and
participate in general discussions and Q&As. Ask
organisers to send as much information as possible
in advance, including delegate lists, the location
of available meeting and networking spaces and
the system for contacting industry attendees.
Chapter 5. Once the ball starts rolling
SNIPPET
Preparing for
a festival
There is no better way to prepare
for a trip to the ClermontFerrand Short Film Festival
than taking the advice here
www.clermont-filmfest.com/
index.php?m=274. Use it as a
template for other festivals too.
And check out the dedicated
websites produced each year
by Screen Australia to support
the Australian presence at the
Cannes, Berlin, Toronto festivals.
22
Set up as many meetings in advance with

talent scouts, buyers, programmers and
others who can help find audiences for the
film and deliver career opportunities. It is
important to hit the ground running.
Go armed with marketing materials, including
postcards giving screening times and dates
and business cards. Ensure copies of the
film are properly labelled with contact
information and other information.
Be clear about the aim of each meeting and find out
as much as possible in advance about the people
and companies. Some will be very interested
in projects in development so have single-page
summaries on hand and verbal pitches ready. Be very
professional at all times, keep accurate records of
conversations and follow up via email within a week.
In the cinema on the day, approach festival
staff and take any opportunities going to
appear in public. Participate as much as
possible in the life of the festival providing it
doesnt distract from the serious business.
If the festival is not A-list, weigh up the possible
flow-on effects of agreeing to be in competition,
especially if high-profile festivals are sitting on the
film and are soon to reveal their line-ups. Do not let
the world premiere pass without having an impact.
snapshot
Learning from
experience
Have your next project ready
to pitch use the hype of
being selected as a way to
try and generate interest.
Do your research but take
your time deciding who to go
with. We felt a lot of pressure
to have a sales agent in advance
of Clermont-Ferrand and were
grateful we did not sign in
advance as the offers generated
at the festival were much better
than those we received prior!
There is a lot of opportunity,
so make sure you put yourself
in the best position to be able to
take advantage of it. Scour the
internet for emails and contact
people before you get there.
More tips from festival attendees
at www.screenaustralia.
gov.au/festivals.
Check back that the submission form doesnt

stipulate that some rights must be consigned to
the festival as a condition of being in competition.
23
Read the fine print in all

agreements and contracts.
Some will advise appointing a sales agent
before getting on the plane; others say
wait until after the festival screenings.
Do as much research as possible into
suitable companies and their catalogues.
Enquire about the business performance of
films that are similar in tone and length.
Carefully study contracts before signing
them. The key question is what rights in
what territories will the sales agent have
and for how long. Consider arguing to
keep certain rights or for some rights to
be non-exclusive in order to personally
exploit them. Consider where the film
is in its festival life and act accordingly.
Ask the sales agent to pay an advance
on sales even though it is unlikely
and ask how regularly sales statements
are provided and revenue share passed
on. Make sure costs are capped.
Continue to keep good records of

actions taken, correspondence
received, prizes and accolades won,
attendance figures at major screenings
and anything else that will impress.
Regularly search online for mentions.
Diligence will pay off in years to come.
Keep an open mind about giving the film
a further push if its content suddenly
becomes more relevant because of
current affairs. Above all, dont be
disheartened by rejection; it is part
and parcel of the film industry.
In some jurisdictions, withholding tax is a

real issue for international sales deals and
filmmakers who dont have a registered
company and cannot supply a certificate
of residency from the Australian Tax Office
could miss out on revenues. The sales
agent should be able to advise on this.
24
Choose a sales
agent with care
There are always exceptions to prove the rule but it would not be out
of line to say two words dream on! to filmmakers who think they
will become rich from the earnings from one short film. Just saying.
It is possible to earn money from short

films a dribble not a torrent but
it is extremely challenging and time
consuming to sift through revenue
opportunities in all media, territory by
territory across the world. Most of the
most active buyers are in Europe.
The conventional sales route for a oneoff Australian short is for the rights
holders to sign the film over to a sales
agent who has experience, existing
contacts and market knowledge. Sales
agents know which broadcasters and
subscription television channels are
in the market, what they want and
whether the shorts will be scheduled as
interstitials or as part of a program block.
Under most contracts, sales agents

take a 30% commission on revenues
received and want all media worldwide
with the exception of the home
territory the filmmakers generally
negotiate sales in their own backyard.
The licence period varies and is likely
to include a period of exclusivity.
Some agents are linked to festivals, some
principally buy shorts for related television
and online entities, some focus on certain
territories. Some acquire only a dozen or
two shorts per year, others hundreds.
Here are some lists of short film
distributors, broadcasters and sales
agents worth investigating:
www.cannescourtmetrage.
com/en/fiches from the
2013 Cannes Film Festival
en.unifrance.org/catalogue/
distributeurs-CM.pdf
Chapter 6. Choose a sales agent with care
25
www.making-short-films.com/film_makers/
distributors/ from Clifford Thurlow,
author of the book Making Short Films
worldwideshortfilmfest.com/resource-centre/
selling-short/ from the Canadian Film Centre
www.clermont-filmfest.com/index.php?m=172
film.britishcouncil.org/resources/
shorts-animation-experimental/
shorts/short-film-sales-agents.
Sales agents sell the screening rights to the films
they acquire to cinemas (although rarely for shorts),
television and online platforms and airlines. They may
package up shorts and make them available on DVD.
They can also advise on opportunities involving
big international players such as iTunes, Netflix
and Amazon. It is rare for such big players to deal
directly with filmmakers on short films. Instead,
they use third party aggregators to acquire,
package, encode, market and promote independent
content on their behalf. It is difficult to keep
up with new online distribution shop fronts.
snapshot
SBS is a big
buyer of shorts
SBS Television buys about 50
Australian short films annually,
making it the biggest television
buyer of short films in Australia.
Shorts need to have been made
within the previous two years
and be no more than 20 minutes
in length. The rate is $130 per
minute, for play rights on SBS
ONE and SBS2, and 14-day catchup rights for SBS On Demand.
Contact: shorts@sbs.com.au.
ABC TV, unlike SBS, has
no dedicated slot for short
films so opportunities only
arise infrequently.
Winning a major award at an A-list festival

is the best way to pique the interest of sales
agents because they use the major festivals to
track films. Most sales agents want universal
stories that deliver emotionally, are original, and
have high production values and marketability.
Most dont want extreme violence.
Filmmakers generally have to decide whether to
hand their film over to someone else if given
the opportunity or opt for self-distribution.
A sales agent is unlikely to sign on for a film
that is available online for free or for a fee.
26
The following sales agents have directly

confirmed their interest in buying or representing
Australian short films (as of the beginning of
2014). The companies span Poland, Germany,
Spain, Ireland, France and the UK.
snapshot
Autour de Minuit
www.autourdeminuit.com/
Festival turned
sales agent
Our standard terms are one year renewable

with a 30% commission. We can also manage
submissions to festivals, in which case our
commission is 40%. Granted rights are for TV,
commercial and non-commercial theatrical,
internet (VOD) and mobile. We buy short films and
series, mainly animation or live action + animation.
They can be experimental/hybrid/aesthetically
innovative/original graphic worlds with solid
content, with or without dialogue. The preferred
duration is five to 15 minutes and the target is
teenager/adults, ie families. Annabel Sebag
As well as being a prominent

Australian short film festival,
Flickerfest is also a short film
distributor and sales agent. Since
1992 it has offered to represent
some of the thousands of
Australian entries it receives for
the annual Sydney-based event.
The catalogue includes comedies,
films for kids, artful animations,
drama and films with Indigenous
themes by Indigenous directors.
The collection is marketed
and distributed globally and
compilations are also available
on DVD from the website.
Interfilm Berlin
www.interfilm.de/en/sales/about.html
Contact: coordinator@
flickerfest.com.au.
We are quite open to all kinds of films

but to narrow it down: up to 25 minutes;
live action/animation; all rights cleared
and available. Christian Gesell
27
La Luna Productions
www.lunaprod.fr
Monster Entertainment
www.monsterentertainment.tv
A few years ago we acquired the short

film Tomorrow and are interested in
acquiring more shorts from Australia.
Our usual terms are exclusive rights
for three years, worldwide, all media.
Were open to any genre and prefer films
of less than 25 minutes. Our share of
revenues is 30%. Anthony Trihan
We have the Australian shorts Harvie

Krumpet, The Mysterious Geographic
Explorations of Jasper Morello and Pinata
and are very interested in more. We like
films that are original both thematically and
stylistically. The ability to work for a wide
audience family rather than just adult
is a bonus. It costs the same to distribute
a four-minute film as it does to distribute
a 30-minute film but the revenues are a
proportionate fraction. Therefore, while the
main criteria will always be originality and
quality, size does matter. We havent ever
said no to something because it was too
short but 10 minutes and up is definitely
more attractive. Andrew Fitzpatrick
Magnetfilm
magnetfilm.de
I have a couple of Australian shorts
in my catalogue already, most recently
the short Great Adventures. Here are
the (standard) terms: worldwide; all
media; 35% distribution fee; distribution
costs to be discussed (either flat or %);
three-year term. Georg Gruber.
New Europe Film Sales

www.neweuropefilmsales.com
We have not acquired Australian films
so far, but are open to doing so. Earlier
this year we acquired a New Zealand
short called Im Going to Mums. We
are looking for short films of up to
20 minutes, live-action or animation.
Short documentaries we only acquire
as rare exceptions. Anja Socic
28
Network Ireland Television

www.network-irl-tv.com
We are primarily interested in comedies, action,
horror/supernatural/drama, in that order and
animation titles in these genres from three to
17 minutes duration and no more than three years
old. Our sales commission is 30%. We have been
doing short film marketing and promotion for
18 years and are able to subsidise this activity
through our sales of regular TV programs. We feel
a responsibility to generate sales, have reasonable
appreciation of what our buyers are looking for and
believe they have come to expect a relatively high
standard from our catalogue. We normally look for
all media, exclusive for three years. As the market
overall is so small, it doesnt make sense to split
rights and confuse the market. Derry OBrien
Origine Films
www.originefilms.fr/cinema/actualites/?lang=eng
Our distribution agreements last three years and
are exclusive, worldwide, all media. We take a 30%
commission fee on the actual deals rather than
doing flat fee arrangements with exploitation
costs and applicable taxes deducted if there are any.
Were looking for shorts of less than 20 minutes,
in all genres that are recent (two to three years
old). Live-action fiction is preferred but we do take
documentaries and animation once in a while. We
usually sign for 20 to 25 films per year and go
to the four major French international markets:
Trouville, Aix-en-Provence, Clermont-Ferrand and
Cannes. We are producers and are always looking
for potential co-production too. Emilie Dubois
snapshot
A new kid
on the block
2014 will see the launch of a
new boutique sales agency by
Ruth Saunders, the former Sales
& Distribution Manager for the
Australian Film, Television &
Radio School, who spent more
than 30 years entering short
films in festivals, selling them
to broadcasters and placing
them with sales agents on
behalf of the school. Her top
five marketing tips are:
T
ake lots of photos
during production for
use in marketing.
C
hoose a strong distinctive
title after seeing what else
is around at the same time
to ensure no crossover.
P
ut serious thought into the
synopsis and try it out on
different people, not just
family, friends and crew. Does
it convey the feel as well as
the content of the film?
W
ith festival entries, think
before you click (and pay).
T
ake more photos: it is not
possible to have too many.
Contact: ruthsaundersshorts@
gmail.com
29
Premium Films
www.premium-films.com
Shorts International
www.shorts.tv
We are very interested in and have worked

with many Australian films including recent
acquisitions Man on Earth and The Man Who
Could Not Dream. We buy up to 50 films
per year, licensing the films on an exclusive
basis with the standard contract being one
year (renewable). The best length is 15
to 20 minutes and we mostly acquire live
action films but are very open to animation.
Our commission is 30%. Other Australian
films weve had include Spider, Monkey,
Yardbird and I Love Sarah Jane. We are
very open to new ones. Kasia Karwan.
Our catalogue is probably 60:40 English

language/non English language. Daytime/
family friendly is preferred. Probably 75% of
the films we acquire are solely for license
to our own channel Shorts TV not for full
distribution deals. Terms offered vary
according to the film in question. Interested
filmmakers should go to the filmmaker
section of our website. Simon Young
Short Film Agency

shortfilmsales.com
On average we buy 12 to 20 short films
per year and currently have five Australian
films in our catalogue. It would be great
to extend this number. It is always
difficult to be on the lookout while busy
with festivals. The best length is 12 to
20 minutes, although if the film quality
is really striking we accept up to 29
minutes. We always seek films that are
a bit edgy and/or deal with a topic from
a new point of view. We dont have any
genre preferences. Korinna Wendrich
SND Films
www.sndfilms.com
Most recently I have represented the
Australian shorts The Wilding and The
Swimmer. Deals are usually for at least
two years, exclusively outside Australia,
and I take a commission of 35%, no further
costs deducted. Most revenue comes from
Europe and some deals are made with
Japan, South Korea, Latin America and
North America. It all depends on the films.
My preference is for well filmed comedy
between five and 10 minutes with not too
much dialogue. I also represent gay and
lesbian shorts, animation and thrillers but
comedy sells best. Generally I take 20 to
25 shorts a year if I find good ones. I
dont really care where they are from as
long as they fit the catalogue and are well
made. The preferred maximum length is
15 minutes but I will take longer ones if
they are really good. Sydney Neter
30
Some Like It Short

www.somelikeitshort.com
Were looking for fiction, animation,
documentary at a maximum running
time of 30 minutes. We acquire 25 films
annually, including 20 from international.
Contract terms are two years exclusive
+ five years non-exclusive (internet).
The media covered is TV, theatrical,
Internet, VOD. Cinzia Spironello
What Remains
31
Do it yourself
online
The internet offers a whole new world of distribution opportunities and
options for directly linking films and customers. However, just making
the content available is not the same as creating the desire to watch it.
As every week passes the online landscape

shudders and shifts with the unpredictability of
an earthquake high up on the Richter scale.
It is impossible to judge how much more powerful
social media will become as an influencer of
behaviour; how many people and how quickly will
turn their backs on traditional television altogether;
the speed of growth of online as the primary viewing
platform; and how not-yet-invented technological
developments will change the landscape.
It is cheap and easy to put a short film online and
offer direct access to people worldwide, many
of whom have a range of devices and are willing
to squeeze bite-sized content into their day. Just
making the content available, however, is not the
same as creating awareness and a desire to watch.
In other words, the marketing and promotion
required may be far from cheap and easy.
Chapter 7. Do it yourself online
suggestion
Monetising
shorts is tricky
Read the comments here to
get opinions on monetising
short films directly online
www.shortoftheweek.
com/2012/11/14/would-yousell-your-short-film-online
32
Here is a diverse selection of platforms/

players that filmmakers are teaming
up with to get their work online:
Click Clack clickclackshortfilms.com
CreateSpace www.createspace.com
SNIPPET
Distrify distrify.com
Elevision elevision.com
Film Annex www.filmannex.com
FILMSshort www.filmsshort.com
Reelhouse www.reelhouse.org
Short of the Week www.shortoftheweek.com
VHX www.vhx.tv
Vimeo vimeo.com
VODO vodo.net
YouTube www.youtube.com.
All have their own features and offer their
own tools. Content can be showcased with
merchandising and other extras, linked to social
media and presented for free or not. Fans can also
be invited to contribute financially after viewing.
Putting a film online

can be a bad idea
Making a film available online,
either for free or for sale,
can make it ineligible for
certain festival competitions.
Cannes, Berlin and Venice
disqualify films that are or
have been online; Sundance,
SXSW and the Oscars dont.
Read more here www.
shortoftheweek.com/2013/05/31/
list-of-festivals-andonline-eligibility/
Certain platforms take a very curated approach

to showcasing shorts; others encourage anyone
to upload anything. Some have business models
grounded in subscriptions, some are more focused
on advertising and some keep experimenting in the
hope of finding a way to secure their own survival.
33
Many filmmakers are putting a lot of

effort into building a personal online fan
base to draw on in future: to get bums on
seats, political support or money via crowd
funding. Those with unique voices or niche
appeal are likely to have the most success.
If building a following is the aim, and
the content and audience potential of
the short suits that aim, viewers will
have to be engaged and their details
captured for future exploitation. Research
the best methods and remember
that impatience reigns online.
Be aware that putting a film behind a

pay wall undermines its accessibility but
also that buyers and sales agents frown
upon films that are freely available online.
Festivals are no longer so disapproving yet
if two films are being weighed up against
each other for a last competitive spot, the
one that is online is unlikely to be chosen.
There is a giant ecosystem of niche
audiences a keyboard away but they
are not easy to pin down. And one
person with power and influence can
be more useful than 1,000 without.
Butterflies
34
Heres some further general reading:

A
short film marketing guide by
filmmaker Nigel R Smith for Scottish
Screen www.scottishscreen.
com/images/documents/short_
film_distribution_guide.pdf
T
houghtful articles at www.
shortoftheweek.com
H
andy hints from filmmaker and
author Clifford Thurlow www.
making-short-films.com
T
he BAFTA website has a section
devoted to short film production and
marketing guru.bafta.org/shorts
T
he BBC has information about shorts
in its filmmaking guide www.bbc.
co.uk/filmnetwork/filmmaking/guide/
introduction/filmnetwork/guide/
introduction/good-short
A
n article from a website exploring
artists use of technology and
innovation thecreatorsproject.vice.
com/blog/the-future-of-the-shortfilm-amid-new-distribution-options
O
n filmmakers protecting their
rights in contracts blogs.indiewire.
com/sydneylevine/internationalfilm-distribution-101
O
nline directories covering film
festivals and news about those
festivals. www.festivalfocus.org
and www.filmfestivals.com
The following website

has a useful calendar showing
major festival deadlines
www.thetakes.com/festivals
Good luck!
35
The text in this guide is released subject to a Creative Commons BY licence (Licence). This means,
in summary, that you may reproduce, transmit and distribute the text, provided that you do not do so
for commercial purposes, and provided that you attribute the text as extracted from Finding festivals
& fans, creating buzz & benefits: A guide to marketing short films, Screen Australia, January 2014.
You must not alter, transform or build upon the text in this publication. Your rights under the Licence
are in addition to any fair dealing rights which you have under the Copyright Act 1968 (Cwlth).
For further terms of the Licence, please see http://creativecommons.org/licenses/by-nc-nd/3.0/.

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Finding festivals & fans,

Creating buzz & benefits

Making a quality short film can be an effective way of establishing a

Written by Sandy George for Screen Australia

Focus on purpose and possibilities

Festivals: Be very strategic

Research, research, research

Once the ball starts rolling

Choose a sales agent with care

Stories abound of compelling short films

Chapter 1. Focus on purpose and possibilities

There is no point beating around the

Honestly assess the quality and

The stuff dreams

If a filmmaker wants to direct television or get

Those who believe that online distribution will

Chapter 1. Focus on purpose and possibilities

Filmmakers, especially those at the beginning of

Chapter 1. Focus on purpose and possibilities

Successfully marketing a short needs the

Keep notes as the research progresses

Chapter 2. Research, research, research

It is thrilling to see a film on a big screen but outside

Chapter 2. Research, research, research

Keep alert to upcoming features that might

Chapter 2. Research, research, research

Plot and prepare

Use this document and your research,

Chapter 3. Plot and prepare

Do not breach copyright as the

Make the press kit compact,

There are many press kit templates to

Complete all components of the press

All the marketing materials must look

Chapter 3. Plot and prepare

Providing fabulous stills is critical.

Chapter 3. Plot and prepare

Get supporting materials ready in advance.

music and effects on separate tracks

Chapter 3. Plot and prepare

Finalise the film in a number of files and

Make it clear on all materials, including copies of

Chapter 3. Plot and prepare

Filmmakers intent on building a

Films only get one world premiere and

has been programmed with care and intelligence

Chapter 4. Festivals: Be very strategic

Short film festivals have

According to research by Screen Australia,

Over the past six years (20082013) nine

Chapter 4. Festivals: Be very strategic

Here is a list of some of well

Chapter 4. Festivals: Be very strategic

Here is a tiny taste of themed and specialist

Festivals and lists

Tricky Women (Vienna, Austria)

Chapter 4. Festivals: Be very strategic

Films and accompanying materials can be uploaded

Chapter 4. Festivals: Be very strategic

Once the ball

There are few good reasons not to leap at

Set up as many meetings in advance with

Check back that the submission form doesnt

Chapter 5. Once the ball starts rolling

music and effects on separate tracks

Tricky Women (Vienna, Austria)